Blumberg's Music Theory Cipher for Guitar and other stringed instruments Musical Number Formula Translation Tables: Intervals, Scales, and Chords Roger Edward Blumberg © Copyright 2002 Complements of www.TheCipher.com
Blumberg's
Music Theory Cipherfor Guitar
and other stringed instruments
Musical Number Formula Translation Tables:Intervals, Scales, and Chords
Roger Edward Blumberg© Copyright 2002
Complements of www.TheCipher.com
or)
Musical Number Formula Translation Tables:
Intervals, scales, and chords
Master Chart Summary Table One (materials of Major and min
Universal Speller Transposer
. . . and more . . .
Roger Edward Blumberg© Copyright 2002
Complements of www.TheCipher.com
Blumberg's
Music Theory Cipherfor Guitar
and other stringed instruments
© Copyright 2002 Roger Edward Blumberg Musical Number Formula Tanslation Tables 3
IntervalsInterval Number-Name Translation TablesTable One: Standard word-prefixed interval number-names to
Cipher (or Chromatic) equivalents.
Figure 1-1
P 1st / dim. 2nd . . . . Unison . . . 0° - 0°min. 2nd . . . . . . . . . . . . . . . . . . . . . . . 0° - 1°Maj. 2nd / dim. 3rd . . . . . . . . . . . . . . 0° - 2°min. 3rd / Aug. 2nd . . . . . . . . . . . . . 0° - 3°Maj. 3rd . . . . . . . . . . . . . . . . . . . . . . . 0° - 4°
P 4th / Aug. 3rd . . . . . . . . . . . . . . 0° - 5°Aug. 4th / dim. 5th . . . . . . . . . . . . . 0° - 6°
P 5th . . . . . . . . . . . . . . . . . . . . . . . 0° - 7°Aug. 5th / min. 6th . . . . . . . . . . . . . . 0° - 8°Maj. 6th / dim. 7th . . . . . . . . . . . . . . 0° - 9°min. 7th . . . . . . . . . . . . . . . . . . . . . . . . 0° - 10°Maj. 7th . . . . . . . . . . . . . . . . . . . . . . . . 0° - 11°
P 8th . . . . . . . . . . . . . Octave . . . 0° - 12°min. 9th . . . . . . . . . . . . . . . . . . . . . . . 0° - 13°Maj. 9nd . . . . . . . . . . . . . . . . . . . . . . . 0° - 14°min. 10th / Aug. 9th . . . . . . . . . . . . 0° - 15°Maj. 10th . . . . . . . . . . . . . . . . . . . . . . 0° - 16°
P 11th . . . . . . . . . . . . . . . . . . . . . . 0° - 17°Aug. 11th / dim. 12th . . . . . . . . . . . 0° - 18°
P 12th . . . . . . . . . . . . . . . . . . . . . . 0° - 19°min. 13th / aug. 12th . . . . . . . . . . . . 0° - 20°Maj. 13th . . . . . . . . . . . . . . . . . . . . . . 0° - 21°min. 14th . . . . . . . . . . . . . . . . . . . . . . 0° - 22°Maj. 14th . . . . . . . . . . . . . . . . . . . . . . 0° - 23°
P 15th . . . . . . . . . . . . Octave . . . 0° - 24°
Standard Cipher *
Intervals
P = PerfectMaj. = Majormin. = minor
Aug. = Augmenteddim. = diminished
distance or chromatic-position of the upper tone from zero (the tonic/root).* 0° = Tonic or Root. The numbers to the right of the dash represent the half-step
Italicized interval names are less common. They could be indicated in the second octave of tones as well
4 Blumberg’s Music Theory Cipher www.TheCipher.com
IntervalsInterval Number-Name Translation TablesTable Two: Standard accidental-mark prefixed interval number-names,
to Cipher (or Chromatic) equivalents.
Figure 1-2
1 = 0° �2, 1 = 0°�2 = 1°
2 = 2° �3, 2 = 2°�3, �2 = 3°
3 = 4° 3 = 4°4 = 5° �3, 4 = 5°
�5, �4 = 6°5 = 7° 5 = 7°
�6, �5 = 8°6 = 9° �7, 6 = 9°
�7 = 10°7 = 11° 7 = 11°8 = 12° 8 = 12°
�9 = 13°9 = 14° 9 = 14°
�10, �9 = 15°10 = 16° 10 = 16°11 = 17° 11 = 17°
�12, �11 = 18°12 = 19° 12 = 19°
�13, �12 = 20°13 = 21° �14, 13 = 21°
�14 = 22°14 = 23° 14 = 23°15 = 24° 15 = 24°
Standard Cipher
Major scale only All intervals
Standard Cipher
© Copyright 2002 Roger Edward Blumberg Musical Number Formula Tanslation Tables 5
IntervalsInterval Number-Name Translation TablesTable Three: Summary Table. Standard word and formula-numeral interval number-
names, to Cipher (or chromatic) equivalents.
Figure 1-3
Perfect First . . . . . . . . . . 1 . . . . . . . . . 0°Diminished Second . . . . . . . . �2 . . . . . . . . . 0°
Minor Second . . . . . . . . �2 . . . . . . . . . 1°Major Second . . . . . . . . 2 . . . . . . . . . 2°
Diminished Third . . . . . . . . . �3 . . . . . . . . . 2°Augmented Second . . . . . . . . �2 . . . . . . . . . 3°
Minor Third . . . . . . . . . �3 . . . . . . . . . 3°Major Third . . . . . . . . . 3 . . . . . . . . . 4°
Augmented Third . . . . . . . . . �3 . . . . . . . . . 5°Perfect Fourth . . . . . . . . 4 . . . . . . . . . 5°
Augmented Fourth . . . . . . . . �4 . . . . . . . . . 6°Diminished Fifth . . . . . . . . . . �5 . . . . . . . . . 6°
Perfect Fifth . . . . . . . . . . 5 . . . . . . . . . 7°Augmented Fifth . . . . . . . . . . �5 . . . . . . . . . 8°
Minor Sixth . . . . . . . . . . �6 . . . . . . . . . 8°Major Sixth . . . . . . . . . . 6 . . . . . . . . . 9°
Diminished Seventh . . . . . . . �7 . . . . . . . . . 9°Minor Seventh . . . . . . . �7 . . . . . . . . . 10°Major Seventh . . . . . . . . 7 . . . . . . . . . 11°
Perfect Eighth . . . . . . . . 8 . . . . . . . . . 12°Minor Ninth . . . . . . . . . �9 . . . . . . . . . 13°Major Ninth . . . . . . . . . 9 . . . . . . . . . 14°
Augmented Ninth . . . . . . . . . �9 . . . . . . . . . 15°Minor Tenth . . . . . . . . �10 . . . . . . . . . 15°Major Tenth . . . . . . . . . 10 . . . . . . . . . 16°
Perfect Eleventh . . . . . . 11 . . . . . . . . . 17°Augmented Eleventh . . . . . �11 . . . . . . . . . 18°Diminished Twelfth . . . . . . �12 . . . . . . . . . 18°
Perfect Twelfth . . . . . . 12 . . . . . . . . . 19°Augmented Twelfth . . . . . . �12 . . . . . . . . . 20°
Minor Thirteenth . . . . �13 . . . . . . . . . 20°Major Thirteenth . . . . 13 . . . . . . . . . 21°
Diminished Fourteenth . . . �14 . . . . . . . . . 21°Minor Fourteenth . . . �14 . . . . . . . . . 22°Major Fourteenth . . . . 14 . . . . . . . . . 23°
Perfect Fifteenth . . . . . . 15 . . . . . . . . . 24°
formula digit formula digitinterval number-nameStandard Standard Cipher
6 Blumberg’s Music Theory Cipher www.TheCipher.com
IntervalsInterval Number-Name Translation TablesTable Four: Octave Equivalents. Associating simple and compound intervals. First-octave
and equivalent second-octave number-names of tones, standard and Cipher, (Major scale intervals only).
Figure 1-4
1st 2nd 3rd 4th 5th 6th 7th 8th| | | | | | | |
8th 9th 10th 11th 12th 13th 14th 15th
Major scale First Octave
Major scale Second Octave
Standard (plus or minus 7)
Octave equivalents(Major scale only)
0° 2° 4° 5° 7° 9° 11° 12°| | | | | | | |12° 14° 16° 17° 19° 21° 23° 24°
Major scale First Octave
Major scale Second Octave
Cipher (plus or minus 12°)
© Copyright 2002 Roger Edward Blumberg Musical Number Formula Tanslation Tables 7
ScalesScale Formula Translation TablesTable One: The Major and three minor scales. Standard scale-formula to Cipher (or chro-
matic) equivalents. Scales are spelled in parallel from a C tonic.
Figure 1-5
C, C�/D�, D, D�/E�, E, F, F�/G�, G, G�/A�, A, A�/B�, B, C
0° 1° 2° 3° 4° 5° 6° 7° 8° 9° 10° 11° 12°
C chromatic scale reference
C D E F G A B C
1 - 1 - ½ - 1 - 1 - 1 - ½
1 2 3 4 5 6 7 8
0° 2° 4° 5° 7° 9° 11° 12°
Major Scale
spelling
whole-steps
standard numbers
chromatic numbers Cipher
C D E� F G A� B� C
1 - ½ - 1 - 1 - ½ - 1 - 1
1 2 �3 4 5 �6 �7 8
0° 2° 3° 5° 7° 8° 10° 12°
Natural minor
spelling
whole-steps
Cipher
C D E� F G A� B C
1 - ½ - 1 - 1 - ½ - 1½ - ½
1 2 �3 4 5 �6 7 8
0° 2° 3° 5° 7° 8° 11° 12°
spelling
whole-steps
Cipher
C D E� F G A B C
1 - ½ - 1 - 1 - 1 - 1 - ½
1 2 �3 4 5 6 7 8
0° 2° 3° 5° 7° 9° 11° 12°
spelling
whole-steps
Cipher
Harmonic minor
* Melodic minor
The Major and three minor scales
Note, the melodic minor in the descending direction reverts to natural minor.
*
8 Blumberg’s Music Theory Cipher www.TheCipher.com
ScalesScale Formula Translation TablesTable Two: Modal scales; the modes of Major (ecclesiastic or medieval church modes).
Standard scale-formula to Cipher (or chromatic) equivalents.
Figure 1-6
1 2 3 4 5 6 7 8
0° 2° 4° 5° 7° 9° 11° 12°
Ionian
Cipher
Modes of Major
(Major)
1 2 �3 4 5 6 �7 8
0° 2° 3° 5° 7° 9° 10° 12°
Dorian
Cipher
1 �2 �3 4 5 �6 �7 8
0° 1° 3° 5° 7° 8° 10° 12°
Phrygian
Cipher
1 2 3 �4 5 6 7 8
0° 2° 4° 6° 7° 9° 11° 12°
Lydian
Cipher
1 2 3 4 5 6 �7 8
0° 2° 4° 5° 7° 9° 10° 12°
Mixolydian
Cipher
1 2 �3 4 5 �6 �7 8
0° 2° 3° 5° 7° 8° 10° 12°
Aeolian
Cipher
1 �2 �3 4 �5 �6 �7 8
0° 1° 3° 5° 6° 8° 10° 12°
Locrian
Cipher
(Nat minor)
© Copyright 2002 Roger Edward Blumberg Musical Number Formula Tanslation Tables 9
ScalesScale Formula Translation TablesTable Three: Miscellaneous scales. Standard scale-formula to
Cipher (or chromatic) equivalents.
Figure 1-7
C D E� F� G A� B C
1 - ½ - 1½ - ½ - ½ - 1½ - ½
1 2 �3 �4 5 �6 7 8
0° 2° 3° 6° 7° 8° 11° 12°Cipher
Gypsy minor
C D E F� G� A� C
1 - 1 - 1 - 1 - 1 - 1
0° 2° 4° 6° 8° 10° 12°Cipher
Whole-tone
Other scales
C D E G A C
1 - 1 - 1½ - 1 - 1½
0° 2° 4° 7° 9° 12°Cipher
Major Pentatonic
1 2 3 5 6 1
C E� F G B� C
1½ - 1 - 1 - 1½ - 1
0° 3° 5° 7° 10° 12°Cipher
minor Pentatonic
1 �3 4 5 �7 1
10 Blumberg’s Music Theory Cipher www.TheCipher.com
ChordsChord Formula Translation TablesTable One: Chords grouped by family. Standard root-position chord-formula to Cipher (or
chromatic) equivalents. Not exhaustive, few altered chords.
Figure 1-8
Major Triad R 3 5 0° - 4° - 7°Sixth R 3 5 6 0° - 4° - 7° - 9°
Seventh R 3 5 7 0° - 4° - 7° - 11°Ninth R 3 5 7 9 0° - 4° - 7° - 11° - 14°
6/9 R 3 5 6 9 0° - 4° - 7° - 9° - 14°Eleventh R 3 5 7 9 11 0° - 4° - 7° - 11° - 14° - 17°
Thirteenth R 3 5 7 9 11 13 0° - 4° - 7° - 11° - 14° - 17° - 21°
Minor Triad R �3 5 0° - 3° - 7°Sixth R �3 5 6 0° - 3° - 7° - 9°
Seventh R �3 5 �7 0° - 3° - 7° - 10°Ninth R �3 5 �7 9 0° - 3° - 7° - 10° - 14°
6/9 R �3 5 6 9 0° - 3° - 7° - 9° - 14°Eleventh R �3 5 �7 9 11 0° - 3° - 7° - 10° - 14° - 17°
Thirteenth R �3 5 �7 9 11 13 0° - 3° - 7° - 10° - 14° - 17° - 21°
Dominant Seventh R 3 5 �7 0° - 4° - 7° - 10°Ninth R 3 5 �7 9 0° - 4° - 7° - 10° - 14°
Eleventh R 3 5 �7 9 11 0° - 4° - 7° - 10° - 14° - 17°Thirteenth R 3 5 �7 9 11 13 0° - 4° - 7° - 10° - 14° - 17° - 21°
Diminished Triad R �3 �5 0° - 3° - 6°Half-Dim Seventh R �3 �5 �7 0° - 3° - 6° - 10°Diminished Seventh R �3 �5 �7 0° - 3° - 6° - 9°
Augmented Triad R 3 �5 0° - 4° - 8°Seventh R 3 �5 �7 0° - 4° - 8° - 10°
Major Suspended R 4 5 0° - 5° - 7°Dom. 7th Suspended R 4 5 �7 0° - 5° - 7° - 10°Min./Maj. Seventh R �3 5 7 0° - 3° - 7° - 11°
Chord Name Standard FormulaCipher Formula
R 3rd 5th 6 or 7 9th 11th 13th
© Copyright 2002 Roger Edward Blumberg Musical Number Formula Tanslation Tables 11
ChordsChord Formula Translation TablesTable Two: Chords grouped by size. Standard root-position chord-formula to Cipher (or
chromatic) equivalents. Not exhaustive, few altered chords, etc.
Figure 1-9
Major Triad R 3 5 0° - 4° - 7°Minor Triad R �3 5 0° - 3° - 7°Augmented Triad R 3 �5 0° - 4° - 8°Diminished Triad R �3 �5 0° - 3° - 6°Major Suspended R 4 5 0° - 5° - 7°
Major Sixth R 3 5 6 0° - 4° - 7° - 9°Minor Sixth R �3 5 6 0° - 3° - 7° - 9°Major Seventh R 3 5 7 0° - 4° - 7° - 11°Minor Seventh R �3 5 �7 0° - 3° - 7° - 10°Dominant Seventh R 3 5 �7 0° - 4° - 7° - 10°Augmented Seventh R 3 �5 �7 0° - 4° - 8° - 10°Half-Dim Seventh R �3 �5 �7 0° - 3° - 6° - 10°Diminished Seventh R �3 �5 �7 0° - 3° - 6° - 9°Min./Maj. Seventh R �3 5 7 0° - 3° - 7° - 11°Dom. 7th Suspended R 4 5 �7 0° - 5° - 7° - 10°
Major Ninth R 3 5 7 9 0° - 4° - 7° - 11° - 14°Minor Ninth R �3 5 �7 9 0° - 3° - 7° - 10° - 14°Dominant Ninth R 3 5 �7 9 0° - 4° - 7° - 10° - 14°Major 6/9 R 3 5 6 9 0° - 4° - 7° - 9° - 14°Minor 6/9 R �3 5 6 9 0° - 3° - 7° - 9° - 14°
Major Eleventh R 3 5 7 9 11 0° - 4° - 7° - 11° - 14° - 17°Minor Eleventh R �3 5 �7 9 11 0° - 3° - 7° - 10° - 14° - 17°Dominant Eleventh R 3 5 �7 9 11 0° - 4° - 7° - 10° - 14° - 17°
Major Thirteenth R 3 5 7 9 11 13 0° - 4° - 7° - 11° - 14° - 17° - 21°Minor Thirteenth R �3 5 �7 9 11 13 0° - 3° - 7° - 10° - 14° - 17° - 21°Dominant Thirteenth R 3 5 �7 9 11 13 0° - 4° - 7° - 10° - 14° - 17° - 21°
Chord Name Standard FormulaCipher Formula
R 3rd 5th 6 or 7 9th 11th 13th
12 Blumberg’s Music Theory Cipher www.TheCipher.com
Figure 1-10
C� D�
min
2
aug
1
CP 1s
t
DE
FG
AB
C
M 2
M 3
P 4
P 5
M 6
M 7
P 8
D� E�
min
3
aug
2F� G
�d
im 5
aug
4G
� A�
min
6
aug
5A
� B�
min
7
aug
6
dim
6A
�d
im 7
B�
CC
one
octa
ve(t
wel
ve h
alf-
step
s)
D�
min
9
DE
FG
AB
C
M 9
M 1
0P
11P
12M
13
M 1
4P
15
D� E�
min
10
aug
9F� G
�d
im 1
2
aug
11G
� A�
min
13
aug
12A
� B�
min
14
aug
13
Con
e oc
tave
(tw
elve
hal
f-st
eps)
Com
poun
d in
terv
als
seco
nd o
ctav
e
Sum
mar
y o
f in
terv
al n
um
ber
-nam
es —
tw
o o
ctav
es, s
imp
le a
nd
co
mp
ou
nd
(all
deg
rees
: Maj
or
and
ch
rom
atic
)
Not
e; s
ome
less
com
mon
enh
arm
onic
inte
rval
nam
es a
re
omit
ted
from
thi
s ch
art,
e.g
. dim
2nd
, dim
3rd
, aug
3rd
.
min
= m
inor
aug
= a
ugm
ente
dd
im =
dim
inis
hed
M =
Maj
orP
= p
erfe
ct
0˚1˚
2˚3˚
4˚5˚
6˚7˚
8˚9˚
10˚
11˚
12˚
13˚
14˚
15˚
16˚
17˚
18˚
19˚
20˚
21˚
22˚
23˚
24˚
chro
mat
ic n
um
ber
s 0°
– 2
4° a
dd
ed
© Copyright 2002 Roger Edward Blumberg Musical Number Formula Tanslation Tables 13
Master Chart Summary — Table One — The Cipher
The Cipher System’s user-friendliness results from extricating music theory from the staffand standard notation. The Master Charts further that operation. The Master Charts are theCipher System’s comprehensive number-formula translation tables. There the eight total Mas-ter Charts in the book. The following two-plate chart is one of two summary charts.
The Master Charts are a catalogue of number formula, both standard and Cipher. Theycontain diatonic to chromatic number translations of all basic harmony-in-thirds (chord for-mula) taken directly from the staff, plus all indigenous modes (scales) of all degrees of the fourprimary scales. Charts are included for the Major and three variations of Minor scales (Natu-ral, Harmonic, and Melodic), using both standard (diatonic) and chromatic (Cipher) num-bers. The Master Charts reveal all of the stock harmonies and formula natural to all scaledegrees of those scales
From every scale degree of each of the four scales covered, you’ll find formula numberscorresponding to (and up through) the seven-tone thirteenth chord that stacks naturally (inthirds) above those degrees. Each thirteenth chord contains within it all other smaller chordsnatural to the given degree. That is, each thirteenth chord (also) contains the triad, seventh,ninth, and eleventh chord, natural to the degree. So the Master Charts are indeed exhaustive— as far as the stock, unaltered, natural materials of (tercian) Western music theory go.
The Master Charts are a literal Rosetta Stone, an alpha-numeric translation of ancientmusical formula rendered in two languages side by side, one of which nearly everyone onearth can understand, counting numbers. It might sound silly, but if some cataclysmic eventever befalls the earth (and it will someday), leaving only a small global population and few ifany people who can read music, the kernel of Western musical heritage might survive at least.But we’d still have to write it in stone somewhere, and have a copy “off world“ to be safe. ;’)
14 Blumberg’s Music Theory Cipher www.TheCipher.com
Figure 1-11
The Cipher — Summary Master Chart One — diatonic numbers
Natural Chords and Arpeggios Indigenous Modes
Major
Melodic minor
Harmonic minor
Natural minor
Major
Melodic minor
Harmonic minor
Natural minor
R 3 5 7 9 11 13
I
II
III
IV
V
VI
VII
RT
R
R
R
R
R
R
�3
�3
�3
�3
3
3
2
�5
5
5
4
�7
�7
�7
�7
�7
7
7
6
9 11
�11
�13
�13
�13
13
5 9 11 13
5 �9
�9
11
3 5 7 9 13
3 5 9 11 13
11
5 9 11
R 3 5 7 9 11 13
I
II
III
IV
V
VI
VII
T
�3
3
�3
�3
�3
�3
2
�5
5
5
4
7
�7
�7
�7
�7
7
7
6
9 11
�11
13
�13
�13
13
5 �9 11 13
�5 9
�9
�11
3 5 �7 9 13
3 5 9 11 �13
11
�5 9 11
R 3 5 7 9 11 13
I
II
III
IV
V
VI
VII
T
�3
3
3
�3
�3
�3
2
�5
5
5
4
7
�7
7
�7
�7
7
7
�6
9 11
�11
13
13
�13
�13
�5 �9 11 13
�5 9
�9
11
�3 5 �7 9 13
3 5 �9 11 �13
�11
5 �9 �11
R 3 5 7 9 11 13
I
II
III
IV
V
VI
VII
T
�3
3
3
3
�3
�3
2
5
5
5
4
7
�7
7
�7
�7
�7
�7
�6
9 11
11
13
13
13
�13
�5 �9 11 �13
5 9
9
11
�3 5 �7 9 13
�3 5 �9 11 �13
11
5 9 �11
T 2 3 4 5 6 7
I
II
III
IV
V
VI
VII
1T
1
1
1
1
1
1
�3
�3
�3
�3
3
3
2
�5
5
5
4
�7
�7
�7
�7
�7
7
7
6
2 4
�4
�6
�6
�6
6
52 4 6
5�2
�2
4
3 5 72 6
3 52 4 6
4
52 4
I
II
III
IV
V
VI
VII
T
�3
3
�3
�3
�3
�3
2
�5
5
5
4
7
�7
�7
�7
�7
7
7
6
2 4
�4
6
�6
�6
6
5�2 4 6
�52
�2
�4
3 5 �72 6
3 52 4 �6
4
�52 4
I
II
III
IV
V
VI
VII
T
�3
3
3
�3
�3
�3
2
�5
5
5
4
7
�7
7
�7
�7
7
7
�6
2 4
�4
6
6
�6
�6
�5�2 4 6
�52
�2
4
�3 5 �72 6
3 5�2 4 �6
�4
5�2 �4
I
II
III
IV
V
VI
VII
T
�3
3
3
3
�3
�3
2
5
5
5
4
7
�7
7
�7
�7
�7
�7
�6
2 4
4
6
6
6
�6
�5�2 4 �6
52
2
4
�3 5 �72 6
�3 5�2 4 �6
4
52 �4
T 2 3 4 5 6 7
T 2 3 4 5 6 7
T 2 3 4 5 6 7
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
8
8
8
8
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
© Copyright 2002 Roger Edward Blumberg Musical Number Formula Tanslation Tables 15
Figure 1-12
Natural Chords and Arpeggios Indigenous Modes
Major
Melodic minor
Harmonic minor
Natural minor
Major
Melodic minor
Harmonic minor
Natural minor
The Cipher — Summary Master Chart One — chromatic numbers
R 3 5 7 9 11 13
I
II
III
IV
V
VI
VII
0°0°0°0°
0°0°
0°
3°3°
3°
3°
4°
6°
7°
10°
10°10°
10°
10°11° 14° 17°
18°20°
20°
20°
21°7° 14° 17° 21°7° 13°
13°
17°4° 7° 11° 14° 21°
4° 7° 14° 17° 21°
17°
7° 14° 17°
0°2°4°5°
7°9°
11°
R 3 5 7 9 11 13
I
II
III
IV
V
VI
VII
0°0°
0°0°
0°
0°0°
4°
4°
3°3°4°
7°8°
10°
10°
11°10°
10°11° 14° 18°
17°20°
21°21°21°
7° 14° 18° 21°
7° 14°
13°
17°3° 6° 10° 14° 20°
3° 6° 13° 16° 20°
17°7° 14° 17°0°
2°3°5°
7°9°
11°
R 3 5 7 9 11 13
I
II
III
IV
V
VI
VII
0°0°
0°0°
0°
0°0°
3°
4°
3°3°4°
6°8°
10°
9°
11°10°
10°11° 14° 17°
18°20°
20°21°21°
7° 14° 18° 21°
7° 13°
13°
17°4° 7° 11° 15° 21°
3° 6° 13° 16° 20°
17°7° 14° 17°0°
2°3°5°
7°8°
11°
R 3 5 7 9 11 13
I
II
III
IV
V
VI
VII
0°0°
0°0°
0°
0°0°
3°
3°
3°3°4°
6°7°
10°
10°
10°10°
10°11° 14° 17°
18°20°
20°20°21°
7° 14° 17° 21°
7° 13°
13°
17°4° 7° 11° 14° 21°
4° 7° 14° 17° 21°
17°7° 14° 17°0°
2°3°5°
7°8°
10°
I
II
III
IV
V
VI
VII
0°0°
0°0°0°
0°0°
3°
3°
3°3°
4°
6°
7°
10°
10°
10°10°
10°11°2° 5°
6°8°
8°8°
9°7°2° 5° 9°
7°1°
1°
5°4° 7° 11°2° 9°4° 7°2° 5° 9°
5°7°2° 5°
0°2°
4°5°7°
9°11°
I
II
III
IV
V
VI
VII
0°0°0°
0°0°
0°0°
4°4°
3°3°
4°
7°
8°
10°
10°
11°10°
10°11°2° 6°
5°
8°
9°9°
9°7°2° 6° 9°7°2°
1°
5°
3° 6° 10°2° 8°3° 6°1° 4° 8°
5°7°2° 5°0°
2°
3°5°7°
9°11°
I
II
III
IV
V
VI
VII
0°0°0°
0°0°
0°0°
3°4°
3°3°
4°
6°
8°
10°
9°
11°10°
10°11°2° 5°
6°
8°
8°9°
9°7°2° 6° 9°7°1°
1°
5°
4° 7° 11°3° 9°3° 6°1° 4° 8°
5°7°2° 5°0°
2°
3°5°7°
8°11°
I
II
III
IV
V
VI
VII
0°0°0°
0°0°
0°0°
3°3°
3°3°
4°
6°
7°
10°
10°
10°10°
10°11°2° 5°
6°
8°
8°8°
9°7°2° 5° 9°7°1°
1°
5°
4° 7° 11°2° 9°4° 7°2° 5° 9°
5°7°2° 5°0°
2°
3°5°7°
8°10°
T 2 3 4 5 6 7
T 2 3 4 5 6 7
T 2 3 4 5 6 7
T 2 3 4 5 6 7
8
8
8
8
12°12°12°
12°12°
12°12°
12°12°12°
12°12°
12°12°
12°12°12°
12°12°
12°12°
12°12°12°
12°12°
12°12°
16 Blumberg’s Music Theory Cipher www.TheCipher.com
Universal Speller-Transposer — The Cipher
The Cipher’s Universal Speller-Transposer is meant to help you do two separate things,spell and transpose:
• Take any number formula (standard or Cipher) for any interval, scale, or chord, and you'llbe able to find the correct letter-spelling for it in any key (i.e. from any tonic or root).
• or you can transpose (change) the letter spelling of any musical material from one key,tonic, or root, to another.
The Speller-Transposer works even if you ignore the chromatic numbers, (the Cipher spe-cific content) and use only standard diatonic formula numbers.
At first glance the Speller-Transposer might make your head spin a bit. It’s not a prettysight as they say. But I didn’t create that spelling system. That’s how it is. Hopefully though,you’ll get a feel for it after a few minutes of explanation. You’ll probably only need it on occa-sion. [Note; the book contains explanatory text and illustrations.]
© Copyright 2002 Roger Edward Blumberg Musical Number Formula Tanslation Tables 17
Figure 1-13
2
�2
9
�9
�4
0°
A
35 7�11
411
I IVII III V
A�
B
B�
C�
C
D�
D
B�
C�
1° 2° 3° 4° 5° 6° 7° 8° 9° 10° 11° 12°
A
A
A�
B
B
B
B�
B�B�
B�
C� D�D�
D�
D�
C�
C�
C�
C� C�
B�
F�
G�
C�
C
C
C
C
B
B�
C
C
CB
D�
D�
F�
G�FE� E
EE
E�
D�
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F�
F�E
F
E�
E
F
G
G
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F�
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G�
G�
E� F�
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G�F�
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GG
F�A
A
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F�
FF
EE
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F�
F
EE
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G� A� B�
A�A�
B�
G�A�
G�F�
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GG
F�
F�E�
A�
AA
G�
B�
A�B�
B�
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A�G�
GG
F�
A�
FG�
D
D
D
DD
D�
C�
C�
E�
E�
D�
E�D
D
D
B� A
A�
B�
B�
C�
A� A�
B
C�
B�
C�A�
A
G
G�
G�
A�C�
Tonics/Rootsor Keys A
A�
B
B�
C�
C
D�
D
B�
C�
VI VII I
�76
13 81st or 1st
scale degreesChromatic (Cipher)
�2�3 �5
�5�9�4
�11�13
�6 �7
T/Rscale degreesDiatonic (or Major)
(standard numbers)
Universal Speller/Transposer — The Cipher
D�
E�
F�
G�
F
G�
G
E�
E
F�
A�
A
A�
B
B�
C�
D� C�
D�
G�
B�
B�
A�
A�
C
C
B�C
B�C
C
D�
E�
E
F�E
E
E�
D�
E�
D�
E�
D� F�
E
F
G
F�
E
F
F�
E�
F�
G�
G
G�
F�
G
G�
F�
F E
F�
G�
D�
E
E�
E�
E�
F�
G
G�
F�
F�
F
F G�
E�
D�E�
E�
E�
C�
C�
D�
CD�
B�C
CD�
AA
G�
B�A�
B�
A�A�
GG
F�
A�
AA
G�
B�A�
B�
G�A�
G�F�
G�
G�G
G
F�
F�E�
A�
B�
BC�
BB
C�
A�
BB
C�
A�
AA
G�
B�
A�B�
B�
BB
C�
F�
F
E
E�
FG�
D
D
B�
D�
D�
C�
C�
C�D�
E� F�D
D
C�
C�D�
B�C
CD�
C�D�
D�
E�D
D
C�
E�D
D
B�
A
C�
B
C�A�
B�
A�
B�
C�
A�
A
F�
F�
E�
F
G
G�
G�
A�
G�
A�
A�
C�
D�
D�
D
A�
18 Blumberg’s Music Theory Cipher www.TheCipher.com
Triads of Major — Data
Figure 1-14
========÷t
C Maj /A minKey signature
(no � 's or � 's)
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Triads of Major
I ii iii IV V iv vii˚ I
C D E F G A B CMaj min Majmin Maj min dim
I = C, E, G . . . Major . . . . R 3 5 0˚ 4˚ 7˚
ii = D, F, A . . . minor . . . . R �3 5 0˚ 3˚ 7˚
iii = E, G, B . . . minor . . . . R �3 5 0˚ 3˚ 7˚
IV = F, A, C . . . Major. . . . . R 3 5 0˚ 4˚ 7˚
V = G, B, D . . . Major . . . . R 3 5 0˚ 4˚ 7˚
vi = A, C, E . . . minor . . . . R �3 5 0˚ 3˚ 7˚
vii˚ = B, D, F . . . diminished . R �3 �5 0˚ 3˚ 6˚
I = C, E, G . . . Major . . . . R 3 5 0˚ 4˚ 7˚
Maj
0˚
2˚
4˚
5˚
7˚
9˚
11˚
12˚
C Major
0˚ 2˚ 4˚ 5˚ 7˚ 9˚ 11˚ 12˚